The Red Cross raised half a billion dollars in aid money to help Haiti recover from its devastating 2010 earthquake. But the charity only built six houses in the country. We hear from one of the investigative reporters behind a new report that tracks where the money went. Then, in our weekly web roundup, Sheryl Sandberg’s viral essay on grief has struck a chord. Next, the director of Love and Mercy, a new film about Brian Wilson, talks to Madeleine about the making of the movie. And finally, why is the business of scoring films and television moving overseas?
FROM THIS EPISODE
A new investigation into the Red Cross in Haiti has revealed shocking news. After an earthquake nearly leveled the island in 2010, the Red Cross raised half a billion dollars in aid money. It pledged to use the money to build tens of thousands of new homes and entire communities from scratch. Five years later, the charity has only built six individual homes, and is leaving Haiti. Where did all the money go? We hear from one of the reporters behind a new investigation.
Sheryl Sandberg, the Facebook executive famous for her book Lean In, published a much more personal piece of writing yesterday. She posted an emotional essay about her grief since her husband, David Goldberg, died in an accident a month ago. It’s a powerful window into loss -- and it’s all the more remarkable because it comes from Sandberg, who’s been the embodiment of “having it all.” We discuss that and more in our weekly Internet news roundup.
The classic Beach Boys album Pet Sounds came out in 1966. Soon after that Brian Wilson, the main composer and driving force behind the Beach Boys, began hearing voices. He had a mental breakdown, which led him to spend three years in bed. Later, in the 1980s, he came under the control of a corrupt psychologist, Eugene Landy, who became a kind of svengali figure who took over every aspect of Wilson’s life. A new film coming out this week, Love & Mercy, tells the story of Brian Wilson during those two periods of his life. We hear from the director.
Bill Pohlad, film producer and director
They say that if you notice a film’s score, it’s not doing its job. Of course, anyone can hum the theme to “Jaws.” But for the most part, scores exist in the background, making the action seem more intense, the love scenes more romantic and the drama more dramatic. The composers and musicians who create those scores are even more behind the scenes. But they’ve been making more noise these days because their jobs are being shipped overseas. According to one report, recording session wages have dropped nearly 68% in the last 15 years. What does it mean for the future of the scoring business?
Jon Burlingame, professor of film and TV scoring at USC’s Thornton School of Music.
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